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Uau, eu que adoro Walls of Text já achei esse bem ruinzinho de terminar.Senhoras e senhores, é com grande insatisfação que lhes apresento a season premiere da quarta temporada de Damage Control.
S04E01 - O sistema de autodestruição foi ativado! Todos os funcionários devem evacuar imediatamente!
The Fight for the Future of ‘Star Wars’
The relative failure of ‘Solo’ has Lucasfilm in retreat, reverting to the franchise’s original model … and perhaps overreacting
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Four weeks ago, the Star Wars franchise was flying casual. Each of the first three entries in the rebooted tentpole property—The Force Awakens (2015), Rogue One: A Star Wars Story (2016), and The Last Jedi (2017)—had made more than $1 billion worldwide, and presales and projections suggested that Solo: A Star Wars Story, the second Star Wars anthology movie, would break the record for a Memorial Day opening and extend Disney’s streak of lucrative Lucasfilms. With the franchise’s finances seemingly sound, Lucasfilm flexed: On the day of Solo’s debut, The Hollywood Reporter revealed plans for more spinoffs starring “a slew of characters,” including a Boba Fett flick from James Mangold and Simon Kinberg, the duo behind 2017’s Oscar-nominated Logan.
What a difference a month makes. Since late May, much of the discourse surrounding Star Wars has centered on Solo’s surprisingly soft release, which featured an $84.4 million three-day domestic take and a steep, 65 percent drop-off in its second week. Solo, which has grossed less than $200 million domestically and less than $350 million worldwide, will likely be the first film in the franchise to lose money, as compared to its budget (reportedly more than $250 million) and marketing costs. In assessing the situation, some sources have even invoked the F-word: “flop,” a foreign term where Star Wars is concerned. Star Wars fatigue, which seemed like a hypothetical prospect when we invoked it last winter, now looms as a serious threat.
Although rumors of at least nine Star Wars movies in development were circulating as recently as Sunday, it now looks like fear of diluting the franchise’s earning power will keep Lucasfilm in line. On Wednesday, Collider, citing unnamed sources, reported that the production company has “decided to put plans for more A Star Wars story spinoff movies on hold.” That may mean no Obi-Wan or Boba Fett films for the foreseeable future, and presumably no further Solo installments, although Solo himself, Alden Ehrenreich, signed on for two more films—not an unusual arrangement, even when an actor’s character is killed. On the surface, this sounds like a retrenchment that reflects some uncertainty about what the stewards of Star Wars want the series to be.
The recent torrent of cautionary news for the franchise carries real risks of overreaction, both on our part and on Lucasfilm’s. For one thing, yellow lights can turn green again: Even if these spinoff projects are frozen for now, Lucasfilm president Kathleen Kennedy could turn off the tractor beams at any time. For another, there’s no shortage of Star Wars on the way: In addition to dependable (if predictable) crowd pleaser J.J. Abrams’s trilogy-ending Episode IX, due out next December, Last Jedi director Rian Johnson has his own trilogy in the offing, and Game of Thrones adapters David Benioff and D.B. Weiss are also developing a cinematic series of an unspecified length. At minimum, that’s six confirmed films in the pipeline, not to mention an animated TV series slated for this fall and a live-action TV showthat will likely launch alongside Disney’s streaming service late next year. Spinoffs or no, it’s unlikely that Star Wars will experience any extended droughts at the theater after Episode IX. The suits may be easily startled, but Star Wars will soon be back, and in greater numbers.
Along similar lines, it’s possible that Lucasfilm is fretting too much about Solo’s subpar results (by sky-high Star Wars standards). Although Solo had Memorial Day mostly to itself, the movie arrived just after two other Disney blockbusters, Avengers: Infinity War and Deadpool 2. And unlike the previous Disney Star Wars movies, it came out in May instead of December, which meant a mere five-and-a-half-month gap between Star Wars releases. A belated and abridged marketing campaign, which unveiled the first trailer in February, added to the troubles, failing to counteract the bad buzz built up from a midproduction director change and exaggerated rumors about Ehrenreich’s portrayal of the iconic character. Furthermore, the movie’s premise made it seem somewhat extraneous: Although Han Solo was the series’s most beloved lead, The Force Awakens killed him, and the prospect of an origin story for a character whose murky past was part of his appeal held only limited interest. According to even more recent reports than Collider’s, Disney rejected a request to delay the film to December and refused to give it “preferential” marketing treatment so as not to detract from the furor over Infinity War.Solo’s struggles were, to some extent, self-created; Disney may have had a Solo problem more so than a Star Wars Story problem.
That Solo is seen as a failure highlights the lofty baselines by which we judge Star Wars. The movie worked in a number of ways, got good (but not great) reviews, was the top draw in America in consecutive weeks, and made hundreds of millions of dollars. By comparison, the franchise spinoff that unseated Solo from the top spot at the box office, Ocean’s 8, got worse reviewsand will likely make less money, but is generally regarded as a greater success. That’s partly because of Ocean’s 8’s lower budget—maybe if Lucasfilm picked directors it could keep around and didn’t have to resort to repeated pricy reshoots, it wouldn’t be as big a deal that one of its movies might make “only” $400 million—but it’s also because Star Wars is a singular entity, even among major moneymakers. The plot below, based on Box Office Mojo data, shows the inflation-adjusted average earnings of every movie franchise with at least three films. The chart includes separate points for subseries within longer lineages, such as the Dark Knight trilogy and Batman’s larger, less-distinguished library, which includes Christopher Nolan’s films alongside several other entries.
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Even with Solo’s not-yet-final figures dragging down the Star Wars average, the series still stands out. No other franchise matches its average revenue, and no other franchise with nearly as many movies comes close. That powerful pull has mostly been a blessing to Disney, which has already made more on Star Wars movies than it paid to purchase the franchise in 2012. But it’s been a curse in the case of Solo, whose popular perception has suffered from its inability to ascend to the same heights as previous Star Wars installments.
Past scarcity has something to do with the outlier status of Star Wars: However compelling the product, demand can’t increase as quickly as Disney has expanded supply. To at least some Star Wars fans who lived through the long lean years after Return of the Jedi, the sad spectacle of the prequels, and the decade-plus dry spell between Revenge of the Sith and The Force Awakens—and, evidently, narrowly avoided three movies about midi-chlorians—the fact the fourth Star Wars movie in three and a half years (!) is good but not great probably seems like small beans. Solo would have been the best Star Wars movie made in the 32 years before Disney rebooted the franchise; that it’s now the cause of a crisis is a sign that Star Wars fans are spoiled in the best possible sense.
It’s also a sign of how much is expected from Star Wars. In other prolific franchises, from Mission Impossible to The Fast and the Furious to James Bond, transcendence isn’t the minimum that movies have to meet to be considered successful. No other series is expected to swing for the fences every single time: In most cases, it’s OK to settle for a more modest outcome as long as it keeps the conga line moving and brings the next batter to the plate. Disney’s other massive moneymaker, the Marvel Cinematic Universe, features a couple of movies that made about the same amount of money as Solo and generated more middling reviews, which hasn’t slowed the assembly line or precluded subsequent blockbusters like Black Panther and Infinity War.
The MCU, of course, owes its source material to decades of comics that told smaller-scale stories in successive issues, and that format carried over to their on-screen adaptations. From the start, Disney established that the MCU would boast multiple movies per year and that their casts, timelines, and central conflicts wouldn’t always overlap. Star Wars, meanwhile, has always taken trilogy form and fixated on figures at the center of the fight for the galaxy, which gives it greater focus but sometimes ties its hands. The Star Wars Story entries were ostensibly attempts to escape those strictures, but Lucasfilm couldn’t completely commit to the mission.
Much as the Marvel movies also stem from a single producer at the center of the web and tend to look the same, they vary dramatically in content and tone, from the hand-to-hand combat of Captain America to the space travel of Guardians of the Galaxy to the mysticism of Doctor Strange to the lighthearted humanity of Spider-Man: Homecoming to the political perspective of Black Panther’s diverse cast and creator. The first (and, for now, last) two Star Wars spinoffs weren’t stand-alone stories at all: Rogue One connected almost seamlessly to Episode IV, and Solo revolved around original-trilogy characters. Worse, whatever uniqueness might have arisen from the individual voices chosen to helm those movies was smoothed over and ironed out by director replacements and reshoots. In choosing to tell trilogy-adjacent tales and stick strictly to house style, Lucasfilm lowered the odds of a prequel-caliber disaster but also all but ruled out any chance of making must-see material that could rival the more momentous mainline movies.
By focusing solely on non-stand-alone releases until its trilogies are in order, Lucasfilm is staging a strategic retreat and reaffirming the traditional conception of Star Wars. While it’s heartening that the company is clearly concerned about sullying the series’s reputation and extracting too much story from the stone—if only because of what it ultimately might mean for the bottom line—it’s also dismaying that the fallout from Solo is forcing big-screen Star Wars to adhere to a structure established in the ’70s, especially to the extent that Solo’s relatively low turnout can be traced to the most regressive segment of the Star Wars base. One would hope that the franchise will still allow space to experiment. But maybe that’s what the small screen is for, at least until the movies print money once more.
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Pois é, a temporada começou morna. O texto tenta se passar por isento mas acaba falhando, por não fazer referências ao boicote e aliviar tanto para o lado da megera, quanto para o lado da Disney. Fora que ainda invoca a "fadiga de Star Wars", um argumento que não tem base na realidade, conforme já foi comentado aqui no tópico anteriormente...
Sobre as coisas SJWs, vale bem comentar minha impressão. Os SJW querem salvar o mundo sem ter que trabalhar pra isso, sabe aquele exemplo do cara que fala mal dos homens explorarem a mulher na internet mas se a mãe pede pra ele jogar o lixo pra fora ele briga com a mãe?
Esta ideia (rumor) de refazerem o episódio 8 está ganhando forças, ou só vai ficar no mero resmungo de fãs com pagininhas de "tirar do cannon mimimi" e virar meros memês de Whatsapp de choramingos?
Não boto mais fé nenhuma no "novo". Isto tudo só aumentou meu consumo e idolatria de figuras de ação e demais produtos das trilogias antigas, inclusive percebi um aumento ABSURDO no universo de colecionadores de peças (action figures tops) dos 6 episódios by Lucas, inclusive uma penca destas sumindo, se tornando raros e cada vez mais caros com disputa a tapas (to falando sério).
A cereja desse bolo de m**** é o sacrifício da Holdo para "salvar" a rebelião: atirar um cruzador na velocidade da luz contra a nave de comando do Snoke.
Pior de tudo, é um homem falando esse monte de bobagem!
‘Solo’ Proves Why Star Wars Needs Female Writers and Directors
Drew DietschMay 29
MOVIES STAR WARS
WARNING: This post contains spoilers for Solo: A Star Wars Story. Proceed with caution.
Solo: A Star Wars Story features a number of prominent female characters. And the new wave of Disney Star Wars films have had female protagonists at the forefront of their stories. As far as visibility for fictional women, this is all great news. But, there are glaring moments in Solo: A Star Wars Story that shine a light on one big issue facing the Star Wars franchise: the lack of a visible presence of creative female voices and their narrative perspective.
We’re going to take a look at exactly what elements in Solo: A Star Wars Story highlight this problem, but first we have to address a major criticism that certain fans have when you vocalize support for female writers and directors at the helm of a Star Wars movie.
KATHLEEN KENNEDY
Kathleen Kennedy is the president of Lucasfilm.
At present, Kathleen Kennedy is the person who holds the keys to the Star Wars franchise. As the president of Lucasfilm, she oversees immense decisions in regards to which direction the series will go. Some fans believe this is proof enough of female creative direction in Star Wars and that no other representation is needed.
But, those fans aren’t factoring in a number of things. She is not making precise story decisions or on-set creative choices that will shape the final product in immeasurable ways. Her role at Lucasfilm is much more corporate and producer-oriented than it is strictly creative. While she may give the okay for certain projects, she is not in the thick of these productions every single day as a director would be.
Among other duties, Kennedy’s role in Star Wars is to get projects greenlit and to make sure they make it to the theater. As far as shaping the mythology, emotions, characters, and narrative power of the franchise, that is something that is left in the hands of writers and directors.
With that out of the way, it’s time to look at exactly what parts of Solo: A Star Wars Storyprove why Star Wars needs female writers and directors. Specifically, it’s the characters.
VAL
Thandie Newton as Val in 'Solo: A Star Wars Story.'
The biggest example is the character of Val, played by Thandie Newton. Newton is currently slaying it on TV as Maeve on Westworld. She’s a phenomenal actress and is clearly invested in providing the world with characters that push the boundaries of what we expect from female representation. It’s worth noting that Val is the first prominent female character of color in the Star Wars films. That’s important and a great step forward for Star Wars.
It’s also disappointing when you see how her character is treated in Solo: A Star Wars Story. Val is only in a brief section of the film before sacrificing herself in vain and she is given little to no individual agency. She is the lover of Tobias Beckett and her arc only exists to service his ongoing narrative. That’s a huge bummer especially since Newton’s portrayal is as confident and cool as you’d expect from such a talented performer.
It is story and character decisions like this that showcase how important the female perspective is in crafting strong female characters. Credited screenwriters Lawrence & Jon Kasdan might never have been able to see this angle when they were writing Val. It was obviously not a malicious decision but it is an oversight that could have been corrected with input from a female writer.
L3-37
L3-37 is portrayed by Phoebe Waller-Bridge.
There is a lot to like about L3-37. She’s got a vibrant personality, a great sense of humor, and Phoebe Waller-Bridge brings the fully animated character to life. However, a huge crux of the character centers on her rebellious nature towards the treatment of droids. Honestly, this is a great starting point for a droid character. It’s a perspective we’ve never seen in Star Wars before and that’s refreshing.
So, when she also falls victim to having her arc be intrinsically tied to another male character, Lando, it’s a deflating piece of writing. Not to mention that the humorous approach to her feelings about equal rights has had some people derisively labeling her “MeToo-D2.” Again, it’s clear that the Kasdans didn’t intend for this to be the case, but having a female creative voice backing up L3’s feelings would have gone a long way in making her come off as less of a joke.
While she is also killed in service of the plot like Val, her death also involves the characters cannibalizing her corpse in order to utilize the navigational mapping abilities inside of her programming. There is a lot of debate going on between fans about whether or not this means her consciousness is a part of the Millenium Falcon. Regardless, it’s still a story decision that might have had more impact or could have been handled better if a female director and/or writer had the chance to oversee it.
QI’RA
Emilia Clarke as Qi'ra in 'Solo: A Star Wars Story.'
When it comes to female characters in Solo: A Star Wars Story, Qi’ra is the one that almost comes out on top. Her arc is actually about being subjugated by a man, Dryden Vos, and the climax of the film is her overthrowing him. It’s a genuinely rousing moment that feels absolutely right for the character. She also betrays Han Solo and becomes a crucial figure in the criminal syndicate Crimson Dawn. This is a wonderful conclusion that separates her arc from Han’s in a definitive way.
That’s what makes her final moment so discouraging. Her victory is undercut by the appearance of Darth Maul. It turns out that she is still in the service of a male character and her decisions are not her own. It’s also unfortunate because this is a beloved villainous character with a ton of history for fans. His brief cameo is thrilling but it also takes away from the emotional impact of Qi’ra’s arc.
It’s these kinds of story decisions that indicate a lack of female perspective in the creative process. Yes, it is cool to see Darth Maul on the big screen again. But, it’s not cool that it comes at the cost of the film’s most prominent female character and her arc. If a woman had been deeply involved with the script or the direction of Solo: A Star Wars Story, it’s likely that there would have been more consideration taken towards giving Qi’ra an ending that focused on her instead of the man commanding her.
THE FUTURE OF STAR WARS
(from left) James Mangold, Jon Favreau, David Benioff, and D.B. Weiss have all been announced as creative leads on future Star Wars projects.
With all of this said, it’s also important to look at what the road ahead currently looks like for Star Wars. As of now, the only announced projects all have men as writers and/or directors. To be fair, these are accomplished filmmakers in their own right and we should be excited to see what they have planned for the Star Wars universe.
However, the lack of female writers and directors at the helm of any upcoming Star Wars projects is distressing. With the problems we’ve seen in Solo: A Star Wars Story, it’s understandable to think that similar missteps might happen with future projects.
Now, it’s worth noting that the other Disney Star Wars films have made admirable strides with female characters. Rey, Jyn Erso, Admiral Amilyn Holdo, and Rose Tico have been wonderful additions to the Star Wars canon. But, much like Guillermo del Toro did when he co-wrote The Shape of Water with Vanessa Taylor, it would be excellent to see women directly involved with shaping some of these characters and stories. That perspective is crucial to consider as Star Wars continues to move forward into the future. And as Wonder Woman proved, having a female director take charge of a story with a female protagonist can lead to some extraordinary results.
Solo: A Star Wars Story isn’t a bad movie, but its characters expose why the franchise needs to start having female creative voices guiding certain elements of these stories. It will only lead to better Star Wars films. That’s something everybody wants.
MOVIES • STAR WARS
‘Solo’ Features Star Wars’ First Self-Made Female Droid, L3-37
LAUREN GALLAWAY May 25
DREW DIETSCH
Drew Dietsch
Drew Dietsch is an Entertainment Editor at FANDOM. He hosts a weekly film review podcast at his site GenreVision.com, as well as the shark movies podcast Fin Flicks. If you need someone to talk about Jaws, RoboCop, horror movies, or why Batman Forever is highly underrated, Drew is your guy.
Uma pequena correção, para ficar mais condizente com a realidade.
Bom, meu caro Goris, que culpa tenho eu se o povo da Lucasfilm e os puxa-sacos da mídia não dão um tempo? Todo dia surge uma nova estupidez postada por esses putos. Parece que fazem questão de fornecer matéria-prima para Damage Control o tempo todo... Esse artigo que você postou é prova disso.
Nem negros, nem muitas mulheres (teve um alí que fiquei na dúvida do genero), apenas o hipócrita seguidor de agenda esquerdista de sempre.Uma pequena correção, para ficar mais condizente com a realidade.
Bom, meu caro Goris, que culpa tenho eu se o povo da Lucasfilm e os puxa-sacos da mídia não dão um tempo? Todo dia surge uma nova estupidez postada por esses putos. Parece que fazem questão de fornecer matéria-prima para Damage Control o tempo todo... Esse artigo que você postou é prova disso.
Veja só que interessante: o autor é um homem, como você destacou, mas tive a curiosidade de ir além e dar uma olhada no time executivo desse site. Você pode vê-lo aqui.
Que coisa, não? Parece que está faltando um pouco de representatividade feminina aí nesse time, hein? Assim sendo, só me resta dizer ao autor do texto: quem tem teto de vidro não atira pedra ao do vizinho. Hipócrita do c***lho!
Hora do episódio desse final de semana, moçada... Hora de Damage Control!
S04E02 - The Last Jedi é o melhor Star Wars apenas por foder com os fãs!
‘The Last Jedi’ Is the Best ‘Star Wars’ Because It Upset the Nerds
Everything the diehard fans hated in Episode VIII is exactly what made it good
It’s next to impossible to create a sequel that satisfies. So why not challenge your built-in audience instead of pandering to them? The Last Jedi isn’t a perfect film — no episode of the Star Wars mega-franchise really is — but it was an outstanding jolt to the system, a chapter that complicated its heroes and deepened the cosmic mystery of the Force. It married an unapologetic sense of humor (there’s nothing worse than a space opera that takes itself too seriously) to what was, in essence, the major turning point for a Jacobean blood drama. And it had a bunch of gambling Muppets, not to mention Yoda being kind of a dick.
Classic Yoda.
Among its greatest achievements, though, TLJ stunned and infuriated the people who purport to understand Star Wars best and love it the most. This week saw the emergence of an absurd campaign to “remake” Episode VIII, led by someone who refers to the film as “blasphemy.” Since TLJ hit theaters last December, he and a small faction of geeks have carried undying rage in their hearts for Rian Johnson, who wrote and directed the installment. They’re none too happy with Disney, either, but Johnson — who graciously declined to comment for this story — tops their enemies list.
Now, I’m being a little facetious when I say TLJ is good because it pissed off a certain type of fanboy. What I mean is that the very things they hate are what make it good. (They’re going to scream at me for writing this piece in the first place, so no need to pull my punches here.) Last year, Vox did a comprehensive roundup of their scattershot gripes, which included the movie’s progressivism, the way it confounded fan theories, its jokes and how the characters evolved. In other words, all the fresh, adaptive stuff that propelled the film away from the purgatory of moribund nostalgia that is reboot culture. Through all this, TLJ’s detractors argue that its greatest sin is a handful of plot holes. Please. They could nitpick the original trilogy to death if they felt this fiercely about logical consistency and sloppy storytelling — but they sure don’t!
Johnson has bravely accepted a role as the Star Wars hardliners’ nemesis, happily trolling them on Twitter whenever he’s accused of sinking the series. But the fact that you can raise nerds’ hackles simply by listing the films in the order they were released, without additional context — as they will automatically mistake this for a personal ranking — shows they’re way more focused on policing one another’s opinions than the pleasures of sci-fi mythology.
Moreover, they believe that their dogged interest in Star Wars means they’ve earned the right to steer the ship, and they keep threatening financial ruin for new stories in the universe that fail to conform to the group’s headcanon.
Nobody serious would credit the idea of a boycott, though. The Last Jedi is the 11th highest-grossing movie of all time; Star Wars fans are always going to pony up for a new Star Wars movie, if only to complain that it ruined their childhood; and Johnson is still slated to write three more screenplays despite Lucasfilm announcing a halt to other spinoffs.
What’s comforting, even if you take issue with his Star Wars philosophy, is that Johnson has a strongly defined vision, with an eye to the far horizon. He knows the narrative has to change or die, that new fans (i.e., actual kids!) will become its guardians as bitter, middle-aged guys fall away in protest.
Growing pains are supposed to hurt, which is why a couple of critics came to see the “betrayals” of The Last Jedi as a feature, not a bug — because to erase the tension between past and future is to remove any pretext for the story to continue.
Life goes on, man, and if you would have preferred a two-hour montage of Old Han Solo high-fiving Old Luke Skywalker, I don’t know what to say. I would’ve imagined that, unlike the rather paint-by-numbers The Force Awakens, this one at least gave you something to sink your teeth into.
And hey, maybe it did, since it doesn’t look like you’re gonna let go of this anytime soon.
Fonte
Sem zoeira, uma história dos Imperiais, mostrando o outro lado da saga, do lado dos vilões, teria de tudo pra atrair muita gente.O mais engraçado é que até a historia do battlefront 2 estupra last jedi, solo e force awaken
Lembra daquela cena em O Rei Leão em que Mudada diz a Simba para não ir a um lugar escuro?Quase pior do que o filme ter sido um lixo é a galera que chama qualquer critica negativa a esse filme de "hate". Aparentemente é impossível não ter gostado desse filme por bons motivos e sim pq vc é um chorão.
Minha opinião sobre esse filme novo, que postei recentemente numa noticia no facebook e comentando justamente esse fato de não se poder criticar o filme mesmo com argumentos para isso:
Sim, isso é fã que não sabe nem do que tá falando.
